0:48 throughout the remainder of this clip sounded vaguely like music.
Since I don't play guitar, I have little background to critique this sound experiment.
If
Karlheinz Stockhausen picked up an electric guitar, he'd probably try to sound like this introduction. The pretentious folks who are into "modernism in music" will probably enjoy the introduction thoroughly and be quite angry that the rest of the song follows a tonal pattern. Therefore, this sound-byte has the possibility of appeal towards people who merely under the impression that they are pretentious, but are merely snotty folk possessing other individuals opinions that are no longer in vogue. You might be able to garner 13% of that 1% of the modernism community. However, one must be cautious at trying to garner +1s from the universities as postmodernism is becoming more mainstream amongst the leadership, as the bleating sheep are beginning to follow a few patterns of tonality once again (provided they are relative to a pertinent cultural development).
Personally, I liked some of it -- dissonant experimentation has it's place in my musical visions. Dissonance can actually possess a mathematical quality that can conjure a rather tense, ominous, horrid, frightening, abstract, or otherwise chaotic mood. For instance, some of the choral sectors of the 2001 Space Odyssey soundtrack possess modernism ideals that appeal to the surrealistic imagery of the ending sequences. Otherwise, the remainder of this out-of-date "musique concrète" goes in the waste bin.
Unfortunately, any dislike for this movement, or possibly this sound-clip, will be transformed into an ad-hominem attack on my intellect. That's to be expected, as I've sparred with individuals of this sort in the past who have dismissed my views as either clinging to traditionalism, or being grossly misinformed on musical development and the advant-garde strain of culture. To those disinterested in challenges from my ilk, I'll quote Rachmaninoff:
"The new kind of music seems to create not from the heart but from the head. Its composers think rather than feel. They have not the capacity to make their works exalt – they meditate, protest, analyze, reason, calculate and brood, but they do not exalt."
